Live sports content kit makers are finding new markets in video over IP production, eSports, virtual advertising and VAR.
There’s a dual trend happening in outside broadcast. On the one hand the latest trucks are being equipped with IP production equipment to reduce cost, ease UHD workflows and make more content feeds available for purposing, on the other the same IP tech is making remote production a reality negating the need for giant OB trucks at all.
On the OB truck side, Arena TV - one of the first companies in the world to embrace 4K HDR production based on IP infrastructure - is also among those to have adopted the latest signal processing from Axon Digital. The Synapse cards, which were developed with Arena, provide an Ethernet-SDI bridge and the ability to convert from one format to another within the IP domain.
Lawo’s V__matrix IP routing, processing and multi-viewing core is also finding a home in new build OB trucks including at NEP Belgium. Its software-defined core handles processing, de-/embedding and RGB colour correction of the signals.
The same kit from Lawo is also being deployed for remote production. The pioneering IP project for Fox Sports Australia, enables live remote production of sports like cricket and Aussie Rules across the vast country from a Production Hub in Sydney. Developed by NEP, the project is using SMPTE ST-2110 for the IP transport of the video and audio signals. It’s also cross vendor – using best of breed solutions from Sony, Ross Video, EVS and Lawo among others.
Andreas Hilmer, director marketing & communications, Lawo says, “It’s seen as the blue-print for building a distributed infrastructure that makes use of IP networking in combination with the data centre principles.”
While not leaving its OB truck traditions yet, NEP has been busy segueing into data delivery. Its Netherlands division has built its own content distribution network for both live streaming (including of the FIFA World Cup) and the option to view films and series on demand.
Another remote live remote production solution comes from TVU Networks. Its cloud-based TVU Producer is being used within eSports and third league European football championship. It works by offering frame-accurate synchronization and control of multiple cameras over the public internet. The minimum required is internet access and a smartphone (and cameras). TVU’s RPS is a claimed frame accurate solution which uses a broadcaster’s existing studio control room staff and equipment and a public internet connection from the field.
“With a multi-channel IP video switcher and simultaneous output to social media, including Facebook Live and YouTube Live as well as most CDNs, TVU Producer is the easiest way to produce professional quality multi-camera live events with perfectly synchronized switching,” explains CEO Paul Shen.
Sony has gone a step further and placed the hardware-intensive process of multi-cam switching in the cloud and replacing it with a remote operated Web UI. Its Virtual Production system relies on processing in Amazon’s AWS and on there being enough consistent bandwidth to get the streams from remote site to an operations hub. Since the only physical kit required are the cameras, it alters the business model for outside broadcasts too since a producer need pay on demand rather than invest in kit.
“To date, high quality and reliable live production has always required serious infrastructure, major upfront investment and an army of talented creatives and technicians,” explains Nicolas Moreau, Sony’s Live Media Solution Marketing Manager.
At top quality, each of the six cameras supported by Sony Virtual Production, would require bandwidth running at 6Mbps to deliver 720p. Sony says it is working on a 1080p version which will work at 10Mbps.
Sony is aiming the innovation at the corporate and education markets and Tier 2 sports and does not think this spells the end of the traditional OB – at least for the Tier 1 events (it still sells hardware switchers after all).
eSports production values rise
eSports is on the brink of breaking out of its niche space and firmly establishing itself in the mainstream. Data published by Statistica estimates that the eSports market will be worth as much as US$1.5 billion by 2020, and it will be an officially recognised competition at the 2020 Asia Games.
Its rise also goes hand in hand with higher production values, demanded by broadcasters like Sky (partnered with esports network Ginx), by sports like F1 which runs an esports series in collaboration with Codemasters to complement its traditional coverage of live races; and by enthusiasts themselves who expect high quality interactive experiences.
All of which has prompted eSports producers to upgrade their kit and work with vendors more associated with live TV outside broadcasts.
For instance, EVS worked with leading esports producer ESL to create in-game replays for live tournaments – something akin to output that would be delivered to fans watching any football or basketball game.
“For ESL’s first-person shooter games, we worked out a way to place ‘observer PCs’ into a live game to view the action as if they were cameras,” explains EVS’ Jens Fischer. “Feeds from these are recorded in the PCs’ native 120Hz and ingested by the EVS server. ESL’s technical team use an LSM controller to create a replay in the same way they would for a traditional broadcast, slowing down the feed to the broadcast-standard 60Hz. This creates a half-speed replay with completely smooth playout and no loss of frames.”
ESL also uses the Ross Video Carbonite Black production switcher and XPression graphic platform. Other technology in regular demand by eSports professionals include product from Blackmagic Design.
Red Bull Sphere, a esports studio in London, is packed with BMD kit for live streaming tournaments. This includes a Smart Videohub 40x40 router connected to dozens of Micro Convertors taking IP feeds from PCs and SDI signals from an array of consoles and PCs. Multiple PTZ hothead cameras, two BMD URSA Mini Pros and a BMD Micro Studio Camera 4K plus 12 mini-cams to capture gamers reactions worn by gamers are fed via HD-SDI into a ATEM 4M/E Broadcast Studio 4K to generate the camera sub-mix. The program feed is routed to vMix and mixed with the video over IP (NewTek NDI) inputs from the gaming machines.
Graphics enhancement
With sports increasingly becoming the most widely viewed and lucrative type of ‘appointment viewing,’ production value has never been more essential. Beyond the event itself, viewers expect instant analysis and context for the action on the pitch, court, field or rink. Graphics is an increasingly important tool to enhance live sports production.
One solution is Avid Maestro Live, marketed as the only all-in-one broadcast and video control system for live sports production. It features a sports-dedicated chroma key that distinguishes between different lighting conditions on the field, for displays like first down lines, player tracking, and virtual ads.
Sports data feeds and scoreboard protocols connect to Maestro to auto-populate and update information in the graphics templates. Pull-up starting lineups, player stats & pictures, and team standings on-the-fly. You can even improve and enhance your data displays by manually entering and editing your templates.
With up to 16 output channels available, users can send the main feed to air, a different graphics layer to digital media, and an animated background across a studio’s video walls, all at the same time, through the same UI.
Version 7.4 of Paint, ChyronHego’s telestration and analysis solution, now boasts full 4K support including built-in recording in 4K. Also joining Paint's existing integration with EVS slow-motion replay servers is integration with the LiveTouch replay system from Grass Valley. In addition, Paint 7.4 includes new IP capabilities including support for HTTP H.264 live IP stream recording.
ChyronHego has also improved its Virtual Placement product, including real-time data integration with the company's sports tracking solutions, TRACAB and ZXY; as well as integration with third-party, real-time data sources, such as NFL NextGen Stats.
Virtual advertising
Virtual advertising is coming into play on premium match broadcasts. Finland’s Supponor is a market leader in the emerging field of augmented reality digital replacement for real-time broadcast and streaming of in-venue advertising.
Its technology is being used by La Liga in conjunction with Mediapro and Bundesliga clubs in partnership with Lagardère Sports and the FA trialled the tech during England’s World Cup warm-up match at Elland Road in July. US leagues including NFL have also tested it.
Supponor’s DBRLive technology replaces traditional perimeter board advertising in sports broadcasts with virtual overlays. This technique allowing different brands to occupy the same space on existing pitchside boards while advertising to different markets.
For the FA trial the company worked with Preston-based ADI to develop the system that would work with animated LED (as opposed to static) signage. Static signage still has a place, though. In Formula One for example, the FIA won’t allow LED signage even if it’s not animated because it could distract drivers.
VAR
While not without its controversies, video assistant refereeing (VAR) was rubber stamped at the World Cup Russia and is likely to see adoption across more sports. Among systems competing for this new market is Slomo.tv’s videoReferee FC System which recently introduced FIFA obligatory requirements.
The server records up to 24 3G/HD channels, has four graphics outputs and a separate multi-viewer for all channels capable of displaying live and delayed video. The system provides two fully functional and independent work places working with live, delayed for 2 seconds or recorded video. Video inputs can be displayed from a single camera, in Quad view (four cameras) or in multi-viewer format for off-site situations. Also, it is possible to quickly perform and prepare analysis of an on-pitch incident at the assistant’s work place and transfer it to the main on-pitch system for referees to review during the match.
While EVS’ VAR system called Xeebra is being used by the British Horseracing Authority and UCI, the world’s governing body for cycling (used for the first time during the 2018 Giro d’Italia) and incorporated in a special OB van to travel with the race. Users can view up to 16 live camera angles that remain entirely in-sync and can select preferred angles and zoom into the images with a touch-and-pinch gesture on the system’s touchscreen.
Net Insight is also playing in this game too. It has signed a Euro 1 million deal with a European telco to supply infrastructure based on its Nimbra system for a VAR network for a national football federation. Net Insight’s media transport platform will connect 19 stadia stadiums to a main central location for a centralised VAR system integrated with an intercom service for the 2018-19 season.
No comments:
Post a Comment